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1 



J. G^SAR 

A Burlesque 



By 

STEPHEN F. HARRIS 




X^Bo.tomI^ 



BOSTON 

WALTER H. BAKER COMPANY 

1922 



J. C^SAR 






^^^ ^^ 



\C\^ 



'I' 



CHARACTERS 

{As otiginally produced at Shailer Hall, Brookline 
High School, Senior Social, '22.) 

Julius C^sar - . . . Benny Richardson, 
Marcus Antonius - - - - - Al Billings. 
Brutus -.---.. Siei'e Harris. 
Cassius ------- 7^^ Taylor. 

Trebonius Bob Schacht. 

Casca Ken Koch. 

Lucius Addison Cowles. 

First Stage Hand ..... Rowell Chase. 
Second Stage Hand - - - . Bob Morgan. 
General Understudy - - - . p^g^ Taylor. 




Copyright, 1922, by Stephen F. Harris 
As author and proprietor 

All rights reserved 



AUG -4 i922 

©GI.D 61608 



-^1^% I 



This tiny volume is 
dedicated 
to the members of the original cast^ 
to whose sincerity, ingenuity y and 
loyalty the successful presentation 
of our little play was due :: :: 



STAGE DIRECTIONS 

At the opening of "J. Caesar," the curtain rises and 
shows an empty stage with a plain background. All the 
scenery is brought on and removed, in full view of the 
audience, by two husky and muscular stage hands. 

The titles of the scenes are printed on large sheets of 
cardboard, and they stand on an easel placed to the front 
and to one side of the stage. 

The costumes worn by the stage hands consist of over- 
alls, jerseys, etc. Anything that looks tough will do. 
They have huge bulging muscles made by padding. 

The other characters of the play are dressed in Roman 
togas, which are conveniently and ridiculously made from 
bathrobes, blankets, scarfs, or any other similar material. 
The togas should be draped so that the legs are bare from 
the knee down, and so that there will be a bare arm and 
shoulder. Black ribbon or tape should be wound up the 
legs in a criss-cross manner. Tennis shoes, slippers, or 
sandals are worn on the feet. No hats are used, except 
in Scene III, when C^sar wears a derby into the Senate 
House. Some of the characters have bathrobe cords tied 
around their heads, with the ends tied into a bow knot 
and dangling. 

A stuffed club, bread knives made of cardboard and tin 
foil, the more wicked looking the better ; rubber daggers, 
etc., are used in assassinating Caesar and in the final 
suicide scene. 



REMARKS AND SUGGESTIONS 

The stage hands must be snappy, comical workers, or 
the scene setting will drag. 

The actors should be as awkward as they can. They 
are supposed to be ridiculous. But they must carry every- 
thing through with perfectly solemn faces, or the effect 
will be ruined. 

Original horse-play and funny business may be added, 
but be careful lest too much of it spoil the play. 

5 



O REMARKS AND SUGGESTIONS 

Scene I. 
The traffic signs are placed one on each side of the 
stage. 

Scene II. 

All lights should be extinguished, except one small one 
directly above the rubber plant, which is placed on the 
stage front center. The background should be in 
shadowy darkness. 

If the rubber plant is very small, place it on a stand, 
and tie the apples on to sticks thrust into the earth around 
the plant. 

Scene III. 

Be sure the table in the Senate House Is in a position 
that will not obstruct the view. It should be placed rear 
center, so the dice game may take place on one side of it, 
and the assassination of Caesar on the other. 

Don't prolong the dice game. It must not drag. 

During the funeral oration, Antony may step on Caesar 
hard enough to force audible grunts from him. 

A stuffed club is easily made by sewing a rolled bunch 
of newspapers up in burlap. 

Scene IV. 
For the tent a clothes line should be stretched from 
wing to wing about seven feet above the floor. The sheets 
are secured to it with clothes pins. Don't forget to enter 
and exit through the sheets. 

Scene V. 

W^en Trebonius stabs himself, he is four or five feet 
away from the dead men. He dives in, landing with his 
hands (to break the force of the fall) on the other side 
of the pile. 

If Casca's pistol fails to explode, he can club himself 
to death with the butt of it. 

As the whole play Is so ridiculous, If something is for- 
gotten, anything extemporaneous substituted will never 
be noticed by the audience. 



J. Caesar 



(Curtain rises, showing blank stage.) 
{Enter Prologue Speaker who addresses the audience.) 

Ladles and Gentlemen : 

We shall now present Shakespeare's immortal 
tragedy, " J. Caesar." While so doing, we beg you to 
remember that we wish to leave room for the full play of 
your imaginations. 

Our only endeavor is to portray the rise of the con- 
spiracy, the assassination of Caesar, and the death of the 
conspirators, as it occurs to us, and might have occurred 
to Shakespeare. Incidentally, we humbly apologize to 
Mr. Shakespeare. 

The actors, after the fashion of the noble Romans, will 
be dressed in bare legs and togas, and 

Voice {from the wings). Hurry up out there! Us 
noble Romans are gettin' cold back here ! 

[Exit Prologue Speaker. 

{Two tough Stage Hands bring on an easel and place 
it on the front of the stage, and to one side. The 
scene signs are placed on the easel. The first one 
reads: JULIUS CMSAR. Two traffic signs are 
rolled out. One says: "Don't Park Here," and the 
other: " Go to the Right." The Stage Hands exeunt, 
after removing the first scene sign. The second one 
reads, Scene I, etc.) 

7 



J. C^SAR 

SCENE I. 
Rome : A Street. 



{Enter C^sar, Antony, Casca, and Trebonius. 
Enter — from other side — Brutus and Cassius. ) 

Casca. Peace ho ! Caesar speaks ! 

CiES. Antonius ! 

Ant. Here, my lord. 

C^s. Let me have men about me that are fat. Yond 
Cassius has a lean and hungry look. Such men are 
dangerous. 

Ant. Fear him not, Caesar. He's not dangerous. He 
is a noble Roman. 

Cms. Would he were fatter ! 

{Exeunt Caesar, Antony, Casca, and Trebonius.) 

Cas. Brutus, that guy Csesar is gettin' too wise. 

Bru. You said a jugful, Cassius. But hark, the games 
are done, and Csesar is returning. 

Cas. As he passes by, pluck Casca by the sleeve, and 
he will tell us what has happened. 

Bru. That I will. {Enter C^sar, Antony, Casca, 
and Trebonius. They walk across the stage. Casca is 
drawn aside. Exeunt C^sar, Antony, and Trebonius.) 
What's up? 

Casca. That bum, Caesar, wants to be king ! 

Bru. O ye immortal gods ! 

Cas. Does he want to be king? Then right merrily 
let us crown him ! 

Bru. Art thou with us, Casca? 

Casca. Sure. {They shake hands.) 

Bru. In my garden this night will we meet. Bring 
Trebonius with thee, Casca. [Exeunt all 

{The husky Stage Hands remove the traffic signs. 
Then they bring on a diminutive rubber plant, with 



J. C^SAR 9 

three or four apples tied to it, and place it front 
center of the stage. Scene signs are changed by^ 
stage hand. The next one reads, Scene II, etc.) 



SCENE II. 
Brutus' Orchard. 



(Lights are dimmed.) 

{Enter Brutus, who strides angrily hack and forth 
behind the rubber plant.) 

Bru. Caesar is ambitious! {Jerks apple from tree.) 
Besides, he won't pay back those ten shekels he borrowed 
last March. {Bites savagely into apple.) He must die ! ! 

(Slams apple on the floor. The conspirators creep in 
from all directions. They are very cautious, and 
look every zvay but the right one. Finally they back 
into each other and fall all over themselves with a 
terrific clatter.) 

Tre. Darn this toga ! 

Bru. {listening ostentatiously). Methinks I hear a 
noise. . . . Welcome, Trebonius. Greetings, good 
Cassius. Casca, I hope your cold is better, 

(He shakes hands with them.) 

Cas. Gentlemen, to business. To-morrow is the Ides 
of March. The Senate intends to make Caesar king. 
Bru. My dagger thirsts for blood ! {Raises it aloft.) 
Casca. My sword is sharp ! 

(Holds up a wicked looking bread knife.) 

Cas. I have a stout club ! 

Tre. I know where I can git a brick ! 

(Speaks zvith an Irish accent.) 



10 J. CiESAR 

Bru. Do you, then, Trebonius, lead Mark Antony 
aside. The attention of Caesar will I hold whilst you, 
Cassius, and you, Casca, do swing upon him. When my 
handkerchief drops (Brutus raises his handkerchief up 
high and lowers it slowly, the conspirators following it 
with their eyes.) let the deed be done ! {Exeunt all. 

(Full lights.) 

(Stage Hands remove the orchard. Then they bring 
in a senatorial looking table, place a dictionary and 
a bust of Plato, any other bust will do just as well, 
on it, and hang up a sign at the back of the stage 
which says: " Watch Your Hat and Coat." Scene 
signs are changed, arid the next one reads, Scene 
III, etc.) 



SCENE III. 
The Senate House. 



{Enter Caesar and Antony, C^sar wearing a derby 
hat. They zvalk across the stage, and C.^sar hangs 
his hat on the bust of Plato. The four conspirators 
enter from the other wing and engage the two in 
conversation. Trebonius takes Mark Antony by 
the arm and leads him aside.) 

Tre. Ha, Marcus Antonius. Know'st thou the noble 
words, " Come seven " ? 
Ant. Shoot a shekel ! 

(They play, while C^sar, with his back to them, is 
still engaged in inaudible conversation with the other 
conspirators. Antony loses his shekels, then one 
sandal, then the other. Peeling off his toga, he exits 
with Trebonius. Brutus now talks alone with 
C^SAR, while behind Cesar's back Casca is sharp- 



J. CiESAR II 

ening his long knife, and Cassius is wielding his 
club like a baseball bat. Trebonius comes in with 
Antony's clothes thrown over his shoulder and a 
brick in his hand. Brutus produces a handkerchief, 
handles it, blozvs his nose, etc. Tfie conspirators all 
prepare for the slaughter as Brutus holds up the 
handkerchief. But just as he drops it C^sar turns 
suspiciously around. Casca, throwing away his 
knife sharpener, begins to manicure his finger nails. 
Trebonius and Cassius conceal their weapons be- 
hind their backs. Brutus has grabbed at his hand- 
kerchief and recovered it. He now turns C^sar 
around, mops the perspiration from Caesar's face, 
and endeavors to calm him. C^sar looks nervous 
and szvallows hard. Brutus again drops the hand- 
kerchief. This time C^sar stoops to pick it up, and 
Cassius' mighty swing catches Brutus in the stom- 
ach. He doubles up with pain.) 

Cms. {returning handkerchief), Whafs the matter, 
Brutus ? 

Bru. {still doubling up). Ha! ha! ha! ho! ho! ho! 
I just thought of a good joke, Caesar. There was a 

{Drops handkerchief. C^sar again stoops to pick up 
handkerchief. This time, however, Brutus ducks, 
and Cassius misses both of them. With C^sar in 
a stooping position, Trebonius drops brick and kicks 
him over. The conspirators all pile on top of C^sar 
and mob him to death.) 

Casca. Now shalt thou know better next time, am- 
bitious man! [Exeunt conspirators. 

Voice of Antony {from the wings). Oh, Ceesar! 
Caesar! Oh, Caesar! 

{Enter Mark Antony, shouting and looking for 
C^SAR. Antony is minus his clothes, Trebonius 
having won them, and is wearing a burlap bag with 
holes cut in it for his neck and arms.) 

Ant. Caesar! Oh, Caesar! Oh, yooohooo, Caesar! 



12 J. CiESAR 

(Falls over body.) What the deuce are you doing down 
there? {Examines body.) Ooooohh, they have assas- 
sassinated Caesar! {Quietly wraps himself in Cesar's 
toga.) 

(Antony thinks hard for a moment, showing great 
grief. Then he advances, puts his foot on Cesar's 
body and orates.) 

Friends, Romans, Countrymen, lend me your ears ; 
I come to bury Caesar, not to praise him. 
The evil that men do lives after them; 
The good is oft interred with their bones. 

(C^SAR grunts audibly as Antony presses his foot on 
him. ) 

So let it be with Caesar. 

The noble Brutus hath told you Caesar was ambitious, 

And Brutus is a honourable man. 

But, ah, my poor friend Caesar, {Begins to sob.) 

Grievously hath he been wronged! 

(Antony cries a while into his handkerchief, and 
then m}'ings out half a pint of water on Cesar's 
body. There is a saturated sponge concealed in the 
handkerchief. Caesar sits bolt upright.) 

Cjes. {to the audience). I'm gonna sock that guy An- 
tony after the show ! 

Ant. (to C^SAR, in a stage whisper). Sssshh, shut 
up, you dern fool, you're dead! (Continuing the ora- 
tion.) Go now, youse guys, and avenge your Caesar.. 
Ah, now let the mob do its worst. 
And may the hide of Brutus be curst ! 

[Exit Antony. 

(Stage Hands remove " Watch Your Hat and Coat" 
sign, and the dictionary, bust of Cjesar, and derby 
from the table. Then they carry off the body. 
Table is left on stage. A rope is run across the 
stage and fastened in the wings so that it is nearly 
seven feet high. Two sheets are pinned on the rope 



J. C^SAR 13 

SO that they hang flush with the floor. Scene sign 
is changed. Next one reads, Scene IV, etc.) 



SCENE IV. 
Brutus' Tent. 



(Brutus walks across the stage, and enters the " tent " 
hy coming in between the sheets.) 

Bru. {agitated, and pacing hack and forth). Woe is 
me! Illy have we conspirators been pursued from Rome. 
What hope is there? The mob turned against us. 
Power in the hands of those villains, Antonius and Oc- 
tavius. My best friend Cassius disloyal to meu Would 
that death were knocking at my door. {Knocking is 
heard without. He is scared. ) C-c-come in ! 

(Cassius enters the tent. Brutus and Cassius stride 
up and down the stage, swinging their arms, keeping 
in step, and facing each other, so that they are just 
about a foot apart, and shouting in each other's 
faces.) 

Cas. Brutus, you have wronged me ! 

Bru. You have an itching palm, Cassius ! 

Cas. Who? 

Bru. You ! 

Cas. Me? 

Bru. Yes, you ! 

Cas. I have not! 

Bru. You have ! 

Cas. I haven't ! 

Bru. {shoving Cassius away from him). Away, slight 
man! 

Cas. O ye immortal gods, the conduct of this man 
doth amaze me! 

Bru. By Olympus, I'll black your eye! 



14 J. CiESAR 

(The two advance upon each other threateningly, only 
to fall into each other's arms and shake with sob- 
bing. ) 

Cas. Forgive me, Brutus. 

Bru. Forgive me, Cassius. 

Both. Certainly ! 

Cas. Then good-night, friend. Happily may we meet 
on the morrow. 

Bru. Good-night, Cassius. (Exit Cassius. Brutus, 
zvinking.) Boy, now that Cassius has gone, bring a 
bottle o' wine. (Sits down on table. Enter Lucius, 
zvith a tray in his hand. He takes a whisky bottle from 
under his toga, slams it down on the tray, and slides 
it over to Brutus.) Now get thy instrument, and quiet 
me with a melody. (Exit Lucius. Brutus uncorks 
bottle of wine.) Aaaahh ! (Reenter Lucius, with in- 
strument and pillow, which he sleepily sits down on. He 
prepares to play. As Lucius yawns.) What, art sleepy? 
Restrain but a moment. A single tune, that I may sleep. 

(Lucius looks longingly at bottle of wine, and as 
Brutus raises it to his lips he plays " How Dry I 

Am-m-m-m-m ," holding the last note so long 

that Brutus looks down at him. Lucius quickly looks 
to his instrument, and continues playing. Brutus 
takes another long swig, and Lucius draws out the 
note again. Brutus looks down, and Lucius averts 
his owri glances. This continues for a minute or 
two, and at one point during the duel of glances 
Lucius stops playing altogether. Brutus drazvs a 
dagger, and looks meaningly at him, and he quickly 
picks up the tune and resumes playing. At last 
Brutus wraps his arms about the bottle, lies down 
on the table and snores two or three times. At the 
hack of the stage wood is sawed. Lucius plays two 
lines or so of some jazz piece, then rises, takes bottle 
from Brutus* embrace, and holds it upside down. 
It is empty! Lucius shows great disappointment.) 

Luc. (as he prepares to leave, with bottle, instrument, 
and pillow in his hands). Gee, but he snores eloquent ! 



J. CiESAR 15 

(Wood is still being sawed.) 

(Lights are dimmed.) 

(CiESAR enters in his B. V. D.'s — takes a sheet from the 
tent rope and enshrouds himself in it. He carries a 
clanking chain, and assumes a majestic pose several 
feet away from Brutus. Mark Antony, in his 
toga, enters with him.) 

(Lights are switched on and off three times.) 

{Wood sawing ceases.) 

Bru. {awakening, seeing ghost, and falling off table). 
Great Caesar's ghost! {Composing himself.) What the 
heck do you want here? 

Ghost. To tell thee that we shall meet at Philippi. 

{Deep voice.) 

Bru. Then we shall meet at Philippi. 

{Goes back to sleep. Wood sawing resumed.) 

[Exit Ghost. 
{Wood sawing ceases.) 

(Full lights.) 

(Stage Hands remove table with Brutus on it. Re- 
move sheets and rope, leaving stage perfectly blank. 
Scene signs are changed. Next one reads, Scene 
V, etc.) 



SCENE V. 
The Plains of Philippi. 



{Enter all the conspirators, staggering from weariness. 
Brutus and Cassius lean on each other. Casca and 
Trebonius turn back to back and ease down until 
they sit on the floor. They push back up to a stand- 
ing position.) 

Cas. The forces of Antonius and Octavius o'errun us. 



1 6 J. C^SAR 

Tre. We are defeated. 

Bru. Thrice hath the ghost of Caesar appeared to me. 

Casca. I shall ne'er be taken alive. 

{Looks at his knife.) 

Tre. {solemnly). Friends, farewell. We'll meet in — 
the next world. No doubt Caesar will be there. 

{The conspirators shake hands mournfully.) 

Bru. O Caesar, thou art avenged. 

{He takes the bathrobe cord from his head, knots it 
around his neck, and strangles himself with it. He 
falls dead.) 

Cas. Ditto here. 

{Stabs himself and falls on Brutus.) 

Tre. Them's my sentiments. 

{He wipes the blood from Cassius' dagger with his 
finger, and flips away the imaginary gore. He feels 
of the point. So sharp! He starts to stab himself, 
hesitates, and starts again and hesitates. He closes 
his eyes, and plunges the dagger into his heart. 
Then he dives into the pile of dead men.) 

Casca. Same here. 

{He feels Cassius* dagger. Too didl! He draws his 
murderous-looking bread knife and runs his finger 
along the blade. Also too dull! He throws it away. 
He draws a cap pistol from his toga. Sticking a 
finger into his left ear, he points the pistol at his 
right. Quivering all over with fear, he cocks the 
pistol, hesitates, blinks, shudders, closes his eyes 
tightly, and fires. He falls rigidly, like a board, on 
the pile of dead men. The pile shakes up and down 
with laughter.) 

{Enter Antony. Note. This speech may be omitted 
if desired.) 



J. C^SAR 17 

Ant. (with a satisfied air). My enemies are defeated. 
Octavius and I are in power. (He sees the dead men.) 
Well, well, ain't we got fun? I shall arrange with Oc- 
tavius to have this garbage removed immediately. 

(From the wings some one throws a pillow at An- 
tony's head. He exits.) 

(The Stage Hands quickly and snappily remove all 
the remaining scenery. One Stage Hand drags out 
a dead man. Other Stage Hand drags out two dead 
men, one by each foot. Last dead man, seeing the 
fate of his companions, cautiously creeps out.) 



CURTAIN 



OLD DAYS IN DIXIE 

A Comedy-Drama in Three Acts 

By Walter Ben Hare 

Five males, eight females. Scene, a single interior. Costumes of the 
period. Plays two hours and a quarter. Beverly Bonfoey, a high type 
of Southern gentleman, loves Azalea, his mother's ward, but Raoul 
Chaudet, a Canadian adventurer, to v\rhom he has given the hospitality of 
Bonfoey, steals her love. Forced to leave suddenly because of crooked 
money transactions, he persuades her to elope, but this is prevented by a 
wonderfully dramatic device. Beverly then challenges Raoul, who shows 
the white feather and runs av/ay, and Beverly, to save the family honor, 
assumes the consequences of his swindling transactions. The untying of 
this knot is the plot of a strong play with a genuine Southern atmosphere 
written wholly from the Southern point of view. Royalty, $:t>.ocj forth© 
first and ;?5.cx) for subsequent performances by the same cast. 
Price, j»5 cents 

CHARACTERS 
The Prologue, the Goddess of the South. 
Madame Bonfoey, mistress of the plantatioH, 
Azalea, her ward. 
Nancy, Azalea s sister. 

Cousin Sallie Sellers, fro?r?, a neighboring estate, 
Phcebe, a little coquette. 
Mary Rose, Phcebe' s sister. 
Mam' Dicey, the house viammy. 
Beverly Bonfoey, the young heir. 
Judge Pennymint, his uncle. 
Raoul Chaudet, a visitor from Quebec, 
Cameo Clemm./'wa/ the city. 
Unker Shad, a bit of old mahogany . 

Beaux and Belles of Dixie, 

SYNOPSIS OF SCENES 
Act I. The drawing-room of the Bonfoey Plantation in 1845. 
The letter. 
Act II. The dinner party. The duel. 
Act III. An April morning, three years later. The return, 

THE ORIGINAL TWO BITS 

A Farce in Two Acts 

By Hazel M. Robinson 

Written for and presented by The Invaders Club of the iJni(^ 

Baptist Church of Lewiston^ Maine 

Seven females. Scene, an interior. Plays tvv^enty minules. The girls 
in camp receive a visit from a neighbor and have to borrow the neighbor's 
own dinner in order to feed them. They almost get away with it — not 
quite. Irish comedy character, eccentric aunt, rest straight. 
Frice^ aj cents 



students at 
Nation Hail School, 



CAMP FIDELITY GIRLS 

A Comedy in Four Acts 

By Edith Lowell 

Dramatized by permission from the weil-known story hy 

Annie Hamilton Donnell 

One male, eleven females. Scenery, two interiors. Plays two hours. 
A jolly party of girls occupy an old farmhouse for the summer and there 
discover a secret that makes for the happiness and prosperity of a poor 
little cripple. A very " human " piece full of brightness and cheer and 
with a great variety of good parts. 

Pricey SS ^^f^ts 

CHARACTERS 
Barbara Wetherell 
Judy Wetherell, her sister 
Jessica Thayer 

Mary Sfiepherd, otherwise Plain Mary 
Edna Hull 
Mrs. Tucker, a next-door neighbor. 
Johnnie Tucker, known as Johnnie-Son. 
Barnaby Campbell, a big child. 
Jennie Brett, a country girl. 
Cousin Salome. 
Aunt Elizabeth. 
Uncle Jeff. 

SYNOPSIS OF SCENES 

Act I. Room at Hatton Hall School, 

Act II. Scene I. Camp Fidelity. Afternoon. Scene IT. The 
next morning. 

Act III. Scene I. Same. Two veeks later. Scene II. Midnight. 

Act IV. Scene /. Same. Six weeks later. Scene H. A half 
hour later. 

MARRYING MONEY 

A Play in One Act 

By Alice L. Tildesley 

Four females. Scene, an interior. Plays half an hour. The girls seek 

a job with the millionaire's mother and one of them gets one for life with 

the millionaire. One eccentric character and three straight. 

Price, 2^ cents 

THE OVER-ALLS CLUB 

A Farce in One Act 
By Helen Shertnan Griffith 
Ten females. Scene, an interior. Plays half an hour. The " Over- 
Alls Club" meets for the first time in its denim costume with enthusiasm 
for economy that only lasts until young Dr. Ellery is announced. Finishes 
Jn pretty gowns. 

Price^ 2j cents 



SEASON 1922 i 

A BUNCH OF FUN 

A Farce in Three Acts. By Erastus Osgood 

Five males, nine females. A simple interior scene throughout. 
Modern costumes. The plot of this farce crackles with fun as 
though charged with laughter and smiles. Vera, the baseball girl, 
makes a " hit " in more ways than one. Sylvia, the dancing girl, 
steps right into the hilarity with a whirl. Nina, the stage aspirant, 
gives a new twist to Shakespeare, and Cecily, the Mandolin girl, 
would lure a smile from a vSphinx. These four girls are the 
" Bunch." Tacks, the football star, tackles love from a new angle. 
Ray was a born Romeo, but misfires. Lynn plays the clown to 
every one's delight, and if Murray hadn't written the sketch, lots 
of things would not have happened. Mrs. Selma Blair tries to 
break up the fun, but " nothing doing." Miss Martha is a delightful 
character. Alice entertains the " bunch " and is well repaid. Dr. 
and Airs. Grandon form a charming background for an evening of 
wholesome amusement. And last, the arch fun-maker. Christina, 
the Swedish maid. If she knew how funny she was, she wouldn't 
believe it. She is " stuck on the movies " but Ray declared, " that 
for pulling funny stunts, Christina has got Charlie Chaplin beaten 
forty different ways." Free for amateur performance. 
Price, 55 cents 

CHARACTERS 

Rev. Sticphen Grandon, D. D., rector of St. Paul's. 

Mary, his zvife, " flustered on occasions" 

Martha, his sister, " a trifle warped." 

Christina, a Szvedish maid, " stuck on the movies" 

Raymond Hunting, a live wire. 

Vera Matherson, a baseball fan. 

Nina Lee, a stage aspirant. 

Ceciey Mooreand, the mandolin girl. 

Syevia Stewart, the dancing girl. 

Lynn Lockwood, the man " ivho takes off his face.** 

Aeice Hunting, the entertaining girl. 

Murray Kent, a college playwright. 

Tacks Mueeord, a football star. 

Mrs. Seema Beair, a pest in the parish. 
Scene 
Heatherdale near New York. (The entire action takes place in 
the living-room at the rectory.) 

Time : Present. 
Act I.—" The Bunch " arrives. 
Act H. — •" The Bunch " in action. 
Act in. — " The Bunch " choose partners. 



GOOD-EVENING, CLARICE 

A Farce Comedy in Three Acts. By J. C. McMullen 

Five males, six females. Playing time, approximately two hours. 
Costumes of the present day. Scene — a single interior. Annette 
Franklin, a jealous wife, has been raising a little domestic war over 
her husband's supposed infatuation for a noted dancer, Clarice de 
Mauree. How Annette was proven wrong in her supposition, cured 
of her jealousy, and found her long lost parents, makes a comedy, 
which, while easy of production, proves very effective in the pre- 
sentation. The part of Clarice, the dancer, gives the opportunity 
for an excellent female character lead. All of the other parts are of 
equal importance and the situations fairly radiate comedy and swift 
moving action. This new play has already made its public debut 
in manuscript form, having been used with great success on the 
Pacific coast. Royalty, $10.00 for the first and $5.00 for each subse- 
quent performance by the same cast. Professional rates will be 
quoted on request. 

Scenes 

Act I. — lyiving-room of the Franklin residence, Buffalo, N. Y., 
7: 15 p. M. 

Act II.— The same, 8:15 p. m. 

Act III. — The same, 9:00 p. m. 

Price, 50 cents. 

HIS UNCLE'S NIECE 

A Rollicking Farce in Three Acts. By Raymond W. Sargent 

Six males, three females. Scenery not difficult. The plot of this 
hilarious farce centres around a letter received by Francis Felt'on 
from his Uncle Simon of Happy Valley Junction, who has alwayf 
supposed that Francis was of the opposite sex. The letter an- 
nounces that the uncle has selected a husband for his niece and thai 
they are both on the way to New York to make final arrangements 
for the wedding. In desperation, to keep up a deception started 
years before by his parents, Francis assumes a female charactet 
role in order to carry out a provision whereby he is to receive a 
million dollar bequest from his uncle. The explanations made 
necessary through this change are amusing and realistic. The 
denouement is a surprise and one that will lift the audience to its 
feet with applause. You have seen Charley's Aunt on the pro- 
fessional stage, and here is a chance for amateurs to act in a play 
that is even better suited to their requirements. 

CHARACTERS 

Scenes 
Act I. — Interior of Francis Felton's and Richard Tate's bachelor 
establishment at Boston. 
Act it. — Same as Act I. Afternoon of the same day. 
Act ITT. — Exterior of Uncle Simon's summer home at Happy 
Valley Junction. Evening; three days later. 
Time: Midsummer. 
Time of pla>ang: Approximately two hours. 
Price, 35 cents. 



STEP OUT— JACK! 

An Optimistic Comedy in Three Acts. By Harry Osborne 

A successful vehicle for lalented amateurs. Twelve males (can 
be played with less), five females. Costumes modern. Scenery, 
three simple interiors. Jack Rysdale is "down and out." All he 
has in the world are the clothes on his back and the love in his heart 
for the wealthy and beautiful Zoe Galloway. He dare not ask her 
to marry him until he has made his way in the world. Zoe loves 
him, and while the girls in New York do nearly everything else, they 
do not propose — yet. Jack's fighting spirit is about gone when he 
meets a man named Wilder, who is a natural fighter and knows how 
to bring out the fighting qualities in others. From him Jack learns 
that he has a dangerous rival in Percy Lyons. He learns that if he 
is going to get anywhere in this world, he can't stand in line and 
await his turn but must step out and " go get if." He learns more 
from Wilder in ten minutes than he absorbed in a M'hole year in 
college. So, figuratively speaking, he steps out, takes the middle of 
the road and " gives 'er gas." Once started, nothing can stop him 
until he has attained his object. Every girl will fall in love with 
Jack and every man and bo}^ will admire his pluck and courage. 
Zoe is a matrimonial prize on fourteen different counts, and her 
chum, Cynthia, a close second. Wilder is a regular man's man who 
can convince any one who doesn't wear ear muffs that black is 
white and vice-versa. Then there is Percy Lyons, who never stayed 
out very late, Clarence Galloway, a rich man's son looking for a 
job, Buddie the office boy, who is broken-hearted if he misses a 
ball game, and Bernice Williams, vdio thinks she is a regular little 
Home Wrecker but isn't. An artistic and box oflice success for 
clever amateurs. 

Act L— Private Office of R. W. Wilder. 
Act H. — Library — John Galloway's Home. 
Act HL—Rysdale's* office. 

TiMiC: The present. 
Pi^ACE: New York Cit'y. 
Time of playing: Approximately two hours. 
Price, 50 cents Royalty, $10.00 

THE SHOV/ ACTRESS 

A Comedy in One Act. By J. C. McMuUen 

Two males, four females. Costumes, country of the present day. 
Playing time about forty minutes. Scene, dining-room of the Mnrtin 
Homestead, Hillville, Vt. A burlesque troupe is stranded in the 
little village of Hillville. Goldie, the star, is taken in l^y the Martins. 
Her adventures with the cow at milking time, and with the domestic 
cook-stove are a scream. She eventually restores the Mar- 
tins' lost' daughter, captures the thief robbing the village bank and 
marries Zek'l, the bashful village constable. Full of action. All 
parts good, Goldie the lead, and Zek'l, the bashful lover, being 
particularly effective. 

Price, 25 cents. 



SUNSHINE 

A Comedy in Three Acts. By Walter Ben Hare 

Four males, seven females. Scene, one simple exterior, easily ar- 
ranged with a small lot of potted plants and rustic furniture. This 
charming play was really written to order, to satisfy an ever growing 
demand for a comedy that could be used either as a straight play or 
as a musical comedy. The author has arranged a happy and real- 
istic blend of the two types of entertainment, and the catchy tunes 
which he has suggested should find favor in the amateur field. The 
story leads the audience a merry chase from snappy farce to real 
drama (with just a flavoring of the melodramatic) which modern 
audiences find so pleasing. Here we find a great character part in 
a popular baseball hero, who succeeds in making a home run in more 
ways than one, a wonderful leading lady role in the part of Mary; a 
hypochondriac, who finds his medicine most pleasant to the taste ; 
an old maid who mourns the loss of her parrot, and a Sis Hopkins 
type of girl with the exuberance of spirit that keeps the audience on 
its mettle. The Major is a character of great possibilities and in 
the hands of a capa1)le actor much can be made of it. Sunshine is 
the sort of play that will live for years, as its very atmosphere is 
permeated with good will toward the world at large. We cannot 
too highly recommend this play, written by an author with scores 
of successes behind him and not a single failure. Royalty $10.00 for 
the first performance and $5.00 for each subsequent performance 
given by the same cast. 

Price, 50 cents. 



CHARACTERS 

Maudewa McCann, aged ten. 

Mrs. Bunch McCann, of Detroit, the mother. 

Mrs. Soi, Whippi^e, of Whipple's Corners, Conn., the 

country lady. 
Miss Tkssie Mitford, the mental case. 
Mr. Juba K. Butternip, of Peoria, III, the old man. 
Miss Gregory, the nurse. 
Buddy Brady, of New York, the ball player. 
Major Keleicott, the speculator. 
Jim Anthony, he's engaged. 
Syevia Deane, she's engaged. 
Mary, " Sunshine." 
Boys and Gires. 

Scene: The laAvn at Sunshine Sanitarium, near New York City. 
Act I. — Morning. 
Act n. — Afternoon. 
Act HL— Night. 

Time of playing: Two hours. 



1 



AMATEURS' SUPPLIES 

PREPARED BURNT CORK— Will not dry out. Always in 
condition for immediate use. Easily removed. Enough 

for four people. Per box (about 2 oz.) $ .30 

One-half tt)., $1.00; per lb I.85 

SPIRIT GUM — For sticking on .whiskers, etc. Easily 

removed with Cocoa Butter or Cold Cream. Per bottle. .35 
COLD CREAM — For removing grease paints, spirit gum, 

etc. In tubes 30 

COCOA BUTTER— For same purpose as Cold Cream 30 

CLOWN WHITE— For Pantomimes, Clowns, Statuary, etc. 

Per box 30 

CARMINE LINER— Per stick 30 

BLUE— For the eyes. Per stick 30 

EYE BROW PENCILS— Black, Brown. In nickel-plated 

metal tubes. Each 25 

GRENADINE OR LIP ROUGE 35 

THEATRICAL BLENDING POWDER— Thoroughly hides 
oily appearance of grease paints. Not to be confused 
with street powder. No. i, White ; No. 2, Flesh ; No. 3, 
Brunette; No. 4, Rose Tint for juvenile heroes; No. 7, 
Healthy Sunburn; No. 10, Sallow for both young and 
old age; No. 11, all ruddy exposed characters; No. 17, 

American Indian, East Indian, Othello ^ 

ROUGE DE THEATRE— No. 18, Medium shade for juve- 
nile and fair complexion; No. 36, Brunette for decided 
brunette types; No. 24, Deep Rose for darker hues. 

Per box • : • • -35 

HAIR POWDER— White only. To gray or whiten the 

hair or beard 35 

POWDER PUFFS— For applying blending powder 30 

HARE'S FEET— For blending make-up 30 

STOMPS— Leather, for lining face for wrinkles, etc 30 

NOSE PUTTY— For building up nose or chin 35 

EMAIL NOIR OR BLACK WAX— Black, for stopping out 

teeth 35 

WATER COSMETIQUE or MASCARO— White, Black, 
Dark Brown, Light Brown, Blonde, Red, for coloring 
the beard, eyebrows or hair at temples to match wig. 

Removed with soap and water. Each 35 

MAKE-UP PENCILS— Light Flesh, Dark Flesh, Brown, 
Black, White, Gray, Carmine, Pink and Crimson. Set 

in a box • • • • • ^-35 

LINING PENCILS— Black, Brown, Crimson, Gray and 

White. Each • • • • • -20 

LADIES' BEAUTY BOX— For stage or toilet use Con- 
tains Flesh Color Face Powder, Theatrical Cold Cream, 
Theatre Rouge, Eyebrow Pencil, Powder Puff, Hares 

Foot, Flesh Color Exora Cream and Lip Rouge 1-35 

Always send your orders to 

, WALTER H. BAKER CO., Boston, Mass. > 




015 897 594 4 

ucaire, liyebrow 



LIBRARY OF CONGRESS 

AMATEURS' i 

MAKE-UP BOX— For either Gen 
japanned tin case, with lock ; 
following articles: A set of ( 
Blending Powder (two colors). 

Pencil, Gren, me or Lip Rouge, Blue for the Eyes, Nose 
Putty, Email Noir or Black Wax, Mascaro or Water Cos- 
metique and Brush, Spirit Gum and Brush, Powder Puff, 
Cocoa Butter, Burnt Cork, Two Artist's Stomps, Hare's 
Foot, Mirror, Scissors and Five Colors of Crepe Hair. All 
these articles are of the best qualify. The actual listed value 
of the articles enumerated, all of which are included with 
our complete Make-Up Box, would be over $7.00; so that 
the handsome carrying case is included at no additional cost 
when you buy this outfit. By express, shipping charges not 
paid .$7.00 



GREASE PAINTS 

No. No. 

1. Verv Pale Flesh Color. 12. 

2. Light Flesh, Deeper Tint la 

3. Natural Flesh Color for Juvenile Heroes. 14. 

4. Rose Tint Color for Juvenile Heroes. 15. 

5. Deeper Shade Color for Juvenile Heroes.l6. 

6. Healthy Sunburnt for Juvenile Heroes. 37. 

7. Healthy '>unbum'. Deeper ^ade. 13. 
& Sallow, ; Youn Men. 19. 
9. Heahhy Color, for Middle Age. 20. 

10. Sallow, fcr Ol". Age. 21. 

11. Ruddy, for Old Age. 22. 



Olive, Healthy. 

Olive, Lighter Shade. 

Gypsy Flesh Color. 

Othello. 

Chinese. 

Indian. 

:^st Indian. 

Japanese. 

Ivight Negra 

Black. 

White. 



(I>one up in sticks of 4 inches in length at 30c each.) 



MISCELLANEOUS SUPPLIES 

FOR YOUR MINSTREL SHOW 

Minstrel Chorus Wigs (special price by the dozen), each. . . .$1.25 

End Men's Fancy Wig 2.25 

Fright Wig ( Mechanical) 3.00 

"Uncle Tom" Wig. 2.25 

" Topsy" Wig 2.25 

Sonnetts or Clappers (per pair) 25 

Paper Collars (end men) 15 

Dress Shirt Fronts 35 

Stage Jewelry : Shirt Stud 50 

Large Diamond Ring 75 

Stage Money : 20 sheets 10 

100 sheets 40 

Always send your orders to 

WALTER tL BAKER CO., Boston, Mass. 



i^ 



